Back catalogue:

Review: Fedo prides himself on exploring beyond the usual genre tropes you get in minimal and tech house worlds. Opener 'Sin Titulo' goes some way to proving that with its innovative take on club-ready tech and boiled-down minimal synths. 'Calisthenics & Coffee' is a trippy blend of smooth bass and undulating neon pads. Warped vocals also pepper the mix to keep the brain and body occupied. 'Film Noir' indeed brings a darker energy and 'My Weapon' shuts down with some razor shape precision.

Review: Australian singer Nicky Nite Time and veteran Chicago second wavew house don Felix Da Housecat team up to rework Wham!'s 1984 classic 'Freedom', transforming its uplifting energy into a darker, harder-hitting, and low-key surreal dancefloor weapon. This bold refix pushes the track into pulsatory, late-night club territory, where the four walls about the dancefloor melt into strange shapes, and the checkered footlit floor cycles through the rainbow. The B-side includes Nicky's dub version for an alternative spin, along with an acapella, furthering our sense of possibility. A fresh, edgy, multi-version take on a beloved hit.

Review: 40 years have now passed since Larry Heard made his first record. Heard is, of course, without peers when it comes to deep house - he pretty much drew up the blueprint after all - though he does occasionally invite other producers to bask in his reflected glow. That's the case here, as he and Memphis-based Michael Kuntzman (an artist who has previously released music on Heard's Alleviated imprint) deliver a notable collaborative 12". Guest performer Maddaline whispers, sings and vocalises her way through the dreamy, richly electronic and sonically pristine 'Between Us', which is accompanied by a typically gorgeous 'Instrumental Dub'. There are two versions of 'Reel It In' - also featuring Maddaline - too: the deep tech-house shuffle of Heard's'Fingers Mix' and the back-to-Chicago-87 flex of Kuntzman's 'Summer Acid Burn' take.

Review: Third time around for mysterious rework crew Florence's third hush-hush 12", a popular two-tracker that first landed in stores back in 2015. On A-side cut 'Nicholas', the unknown editors get to work on a typically deep, slipped and jazz-flecked blend of tech-house, deep house and jazz from Nicholas Jaar - then something of a scene star with a reputation for delivering detailed, atmospheric and club-ready productions. This particular track features a (likely sampled) female vocal, as well as smoky sax, low-slung bass and effects-laden tech-house beats. Over on the reverse is 'Johnny', a deep, jangling, tactile and woozy revision of what sounds like a cover version of a Johnny Cash classic.

Review: Roman Flugel's 'Geht's Noch?' turns 21 with a box-fresh batch of remixes on Running Back, reminding everyone how a stray bleeper from a Cocoon comp in 2004 wound up as a schoolyard ringtone and dancefloor detonator. Originally championed by Sven Vath, the track bridged minimal's precision and electroclash's snarl, even sneaking in as a proto-Dirty Dutch blueprint. DJ Gigola ramps up the chaos with a seismic kick and Morse-code bleeps; Luca Lozano delivers two flips, a cowbell-packed 'Technocs' tweak and a 'Gehts Garage Remix' that reimagines it via UK funky; Peder Mannerfelt wrings pathos from its absurdity, while Aasthma (with Par Grindvik) pushes it into glossy rave fantasia. Finally, The Steve Angello vs Who's Who version, long a crossover weapon, finally lands on vinyl. Flugel's oddball juggernaut still refuses to sit still.

Review: Italian producer Niccolo Terranova dons his mothman outfit as Flying Moth, bringing a matutinal expressive take on groove-rich house music with his second EP 'Tides' for Soul Quest. Lepidopteric flying siphons and felt feelers are evoked across 'Bobby's Here' and 'Take You Higher', which tracks a move from an impassive jazz Sunday drive to a wonkier Monte Carlo camber, replete with subtle supersaw and plinking pluck. Gondii joins in on 'Always Groove In You', layering stripped percussion under shifting keys and vocal textures, shortly before Toronto Hustle and Sean Roman rework 'Please, Keep Drinking With Me' into a bold, wearily methylated floor cut.

Review: Italian duo Lorenzo Fortino and Brody return with their third collaborative release, further refining a sound that drifts between deep house, electro and moody, politically conscious techno. Their work has always carried a sense of purpose, but here it feels more dialled-iniless ornamental, more direct. Opener 'Our Truth' stretches over seven minutes, layering synth washes and sparse drum work around processed vocals that feel halfway between meditation and manifesto. 'Homemade Mould' is tougher, rooted in chunky house drums and dubbed-out atmospheres, tapping into the rawer side of their shared palette. On 'Deep Freedom', they introduce vocalist Veronica Marini, whose debut here is remarkableiher voice rises with clarity and control through a lyrical call to action that's both elegant and forceful. That same control shapes 'Leave Those Memories', where she softens into something more introspective, folding jazz phrasing into a smoother, bittersweet house groove. Both tracks also appear in instrumental form digitally, but it's Marini's presence that elevates them into something quietly luminous. While rooted in the familiar structures of club music, this release reaches for something deeper and often gets there.

Review: For real! Described by releasing label Treasure as another treasure chest among bluffing crates full of false sonic pyrite, FR's crafts a marine prospector's dream on 'Treasure EP 9'. 'Kuldn't Luv U More' leads with what sounds like an obscure Tracey Thorn flip, while 'Consciousness' furthers the effort at obfuscation with a shaken-down, blunted-to-a-blur kick and hook loop from a glimmering midnight disco cut. 'Insatiable' on the B redoes Thick D's speedy 'Insatiable' by with a saunified overload, pouring hotter water on a ready-heated stove of sultry New York house, while 'I'm Outta Love' does the same to Anastacia's less identifiable but still findable soul belter. Real stumpers on the sample front at first, but we found 'em!

Review: The Treasure team keeps up the momentum of its early release with another fruitful dive into the annals of house history. This time, they have dug up more nuggets from FR and have refined them for contemporary floors. 'ET Is Coming Home' (vocal) is a slow and dubby cut with percolating live bass and muted horns next to some Ubiquity style vocal soul. The instrumental allows the superbly loose-limbed and live drums room to really shine, and then comes an epic, 10-minute-plus jazz-drenched house odyssey that's alive with swirling cosmic radiance and busy chords and synths. A real trip for proper music heads.

Review: Formed in Edinburgh in the early 90s, Fresh & Low helped define the UK's take on deep house with a dusty, groove-led sound that bridged warmth and restraint. This reissue digs up a lesser-known 1997 session and restores it with fresh mastering. 'Sea of Desire' sets the tone-loose, late-night and dubby, with floating pads and barely-there vocal textures. 'Espresso' picks up the pace with more rhythmic bounce and filtered chord work, while the B-side doubles down on mood: 'Where The Wolves Once Roamed' and 'Where The Wolves Return' feel hypnotic and half-submerged, tapping into that same smoked-out headspace as early Chicago or Prescription. One for fans of deep simplicity done right.

Review: ***B-STOCK: Record slightly warped***


A top value for money opportunity here, as Moiss Music deliver the latest in their sweet and sticky Jam series of various artist 12" line ups, bringing you no less than six bubbling, vivacious disco triumphs from six artists. Khemir's 'Disco Bandit' kicks off proceedings, a production that sounds like it was made by a band of around 45 musicians, a proper cavalcade of strings, brass, brazen disco thump and beautifully bold vocals. Wurzelholz's 'Prince' goes for a bit more economy but with a slinky funk bassline like that - not to mention the occasional exclamation from the purple overlord himself - it's equally devastating in dancefloor terms. Among the other highlights, 'Golden' by I Gemin has the feel of a lost Daft Punk flip tune and Cosmocomics' 'Glamorous Garcon', boasting 70s-style synth bubbles that are as cute as they are retro. Tasty as ever.

Review: MoBlack Gold work both as appraisers and minters of quality Afro House. This record, once again, attests to the fact, clocking in as the label and music-making house's "XII-th" release. Jamek Ortega, MoBlack, Armonica, Samna Soundsystem, Peaty and Faros all stop by the dancehall in a confident move of jitting, shimmying surety, extending out from an extended version of Ortega's 'Voices' to a closing, kwaito-deep quaalude by Faros, 'Feeling You'.

Review: Finland's Common Labour label unites four different producers on the fourth volume of its Odd Jobs series, and each of them goes deep in their own inimitable way. Omar Santis begins with an unhuried and smoky dubbed out house with wispy pads and subtle vocals on 'Pinoki.' Flabaire ups the energy with some slick, tightly programmed but smooth drum loops that bounce freely beneath warm pads which infuse the mix with soul. Thomas Wood's 'All It Takes' has molten bass and liquid synths for a dub house delight on 'All It Takes' and Potholes's 'Bromsman' is the headiest of the lot with DJ Koze-style melodic whimsy.

Review: Yorkshire lad Franky Wah continues to have a large say in the sound of modern club culture with his emotionally charged, high-energy productions and infectious hooks, standout releases and endless touring. He also runs SHEN, of course, a label, events company and clothing brand showcasing his broad creative vision. His latest project, The Revival, Vol. 2, arrives there five years after the acclaimed Vol. 1 that featured the breakout track 'Come Together' and solidified his status among dance music's elite. With this sequel, Franky Wah reaffirms his credentials with a fresh bunch of emotive, vocal-laced and sunshine-rich, drop-filled house anthems for hands-in-the-air fun.